Artist Statement

A woman is passionately holding a clutch purse close to her face. Cut. The clutch is cut out from the image and a book is inserted. All the longing for a fashion accessory is transferred to the object book. The viewer believes. Now she is an avid reader. A book is all that a fashion model needs.

An old lady is walking with the help of a stick. She is fragile, she is slow, she is vulnerable. Cut. Now the old lady is holding a machine gun. Beware of the old lady.

I work with borrowed images from magazines, and magazines are the cradle of stereotypes. My latest installations played with an unexpected characteristic of the stereotypical image: versatility. This became clear to me when I watched Hitchcock explaining the Kuleshov Effect, an essential concept of editing. That is, a man has a smirk on his face. Cut, you see a woman playing with a baby. The man is a nice old man. Now a man has the same smirk. Cut, you see a woman on a bikini. Now he is the ‘dirty’ old man, no longer the benign gentleman. Bingo.

As I start browsing for a collage or installation, paper creatures are diving, dancing, competing. Cut. Now they are jumping for their lives. From the top of a magazine pile, they try to escape the recycling curse. Too late. A crusher mechanism is already sucking them to oblivion. I was raised surrounded by piles of magazines - women’s magazines, glossy magazines, news magazines - and my first job was on a magazine publisher. Later on, I inherited a large collection of Architectural Digest and National Geographic. Not by coincidence, my practice is primarily focused on re-signifying pre-existing print materials, using collage as a form of transgression. In a perverse insistence on the analog, disregarding technological advances, I intentionally do not resort to digital technologies in constructing images, but, instead, reuse the physical leftovers compulsively collected.

I am currently working on a series of self-portraits on Instagram that are at once humorous and sinister and can be defined as ‘fake-Photoshop paper-on-flesh collage’. Sticking the paper directly to the face and taking a selfie, I developed my own way of identity resistance, exploring the absurdity of beauty standards.